Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Tuvalu and from Delhi.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1966 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Houston.
I'm losing my edge to the art-school Lille kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1971 at the first Selda practice in a loft in Istanbul.
I was working on the arpeggiator sounds with much patience.
I was there when Donald Fagen started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Duran Duran to the disco kids.
I played it at CBGB's.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by the Swans. All the underground hits.
All Gang Starr tracks. I heard you have a vinyl of every Slave record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Mission of Burma,
R.M.O.,
Colin Newman,
Eli Mardock,
Faraquet,
Niagra,
Theoretical Girls,
Angels of Light & Akron/Family,
Lalo Schifrin,
Camberwell Now,
Alice Coltrane,
Eric Copeland,
The Cramps,
Derrick May,
Hot Snakes,
Sonic Youth,
The Velvet Underground,
John Coltrane,
The Smoke,
The Gories,
Wolf Eyes,
PIL,
Television,
Silicon Teens,
Blancmange,
Letta Mbulu,
The Smiths,
Slave,
Derrick Morgan,
Avey Tare's Slasher Flicks,
Soulsonic Force,
The Barracudas,
Laurel Aitken,
H. Thieme,
Mad Mike,
Hardrive,
Warren Ellis,
The Modern Lovers,
Althea and Donna,
John Holt,
Ten City,
Tommy Roe,
Ultramagnetic MC's,
Jawbox,
Ken Boothe,
Pharaoh Sanders and the Fire Engines,
The Pop Group,
Grandmaster Flash and the Furious Five,
Wasted Youth,
The Real Kids,
The Grass Roots,
Nation of Ulysses,
the Soft Cell,
Con Funk Shun,
Kas Product,
Ultimate Spinach,
Eden Ahbez,
Malaria!,
Bobby Sherman,
Don Cherry, Don Cherry, Don Cherry, Don Cherry.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.